Kartik Aaryan’s monologue ranting about Indian men felt as spurious as that uncle’s forward on WhatsApp that said India won an award for the best national anthem in the world. His performance in this scene, where he delivers a lengthy monologue, is one of the very few high points in an otherwise boring and predictable film.  If Kartik Aaryan acted in South Indian films, his moniker would be – ‘The Monologue Star.’

Pati, Patni Aur Woh (PPAW) isn’t a mindless movie because this movie had a good plot and should have tried to stay true to its genre. It gets on my nerves when movies shift genres just to please every section of the audience. Just like how people aren’t too fond of wannabes, I expect movies to convey whatever they initially intended to and not engage in digression.

I always judge a movie on what it aspires to convey. On that scale too, the movie was malnourished because it gets preachy after a while. The moment a comedy film becomes a ‘social-messaging film’, that’s when all hell breaks loose. When you’re invested in a movie for quite some time, you expect a befitting ending. It’s my personal opinion that Pagalpanti can be considered a better film than PPAW solely because it stayed true to its mindless story and remained so till the very end.

In PPAW, Kartik Aaryan plays Chintu Tyagi, who is happily married to Vedika Tyagi (essayed by Bhumi Pednekar) who loves sex. Ananya Panday, as Tapasya, who is always dressed-to-the-nines becomes a colleague of our hero and things go haywire from there. Why would Chintu cheat on his wife and engage in blotting her character with irrefutable claims to strangers? The rest of the script is what would be if a young kid is asked to write an essay on the above premise. In the climax, everything ends well (not a spoiler).

We don’t get a hint of what Chintu and Tapasya are trying to achieve. They don’t engage in sexual relations but they go on dates and long drives. If such scenes were avoided just to cater to the family audience, I have to ask this to the director, “Would you take your kids to a film titled Pati, Patni Aur Who?” For a movie that engaged in preposterous skin shows almost without giving any valid reason, I don’t see why the director wanted a family audience to watch this movie.

Since this isn’t a performance-oriented film, there was nothing to appreciate or condemn but Aparshakti Khurana’s one-liners provided me with the much-needed push to sit through the movie. You will never feel he’s playing a supporting role because of his excellent screen presence. Double entendre is aplenty and a few of them are land well but most of them deserve half-hearted chuckles. Ananya Pandey doesn’t impress with her acting skills. They should have worked on her expressions to make the film better. Compared to Bhumi Pednekar, she has a long way to go in this department. Talking about Bhumi, mam, what happened to your script selection choices? Why do they seem to gravitate more towards the money-churning production houses who spoil Bollywood with plot-less films?

I liked the way in which the director handled such a sensitive subject. Infidelity would definitely stir up some dark emotions in people who have been cheated on in the past. For a majority who didn’t have the misfortune of going through such horrific incidents, this film can prove to be quite enjoyable.

People/critics who loathed Kabir Singh have kept mum on their opinions of this film. Infidelity is as bad as misogyny because of the impact it may have on an audience. I didn’t see a single post on Twitter calling out the film on its patriarchy nicely decked-up in the attire of comedy. It goes on to prove the fact that people seem to love sugarcoated lies but won’t accept the bitter truth.

There are three stars in this film but I’m not sure if the movie deserves that many stars. Catchy songs are one of the few positives in the film and there is nothing else that you can look forward to in this movie. If you don’t have time to kill, DO NOT watch this film.


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